Big Quarters :: From the Home of Brown Babies & White Mothers :: Big Quarters
as reviewed by Guido Stern

Though they're probably never be as famous as the other pair of
light-skinned (hooray for racial grouping!) boys from Minneapolis, Big
Quarters are none the less an important part of the surprisingly active hip
hop scene in Minnesota. And while their latest offering, "From the Home of
Brown Babies & White Mothers" is evidence that Ant isn't the only ambitious
producer in the city, there's a considerable lack of mic presence and
lyrical creativity to make it an album that must be heard alongside
Atmosphere's best records.

Aforementioned production, which (I think) is handled largely by younger
member Medium Zach, is often experimental, with mixed results. Most of the
highlights come early as the quirky mixing of instruments on "Protection"
provides a perfect backdrop for the duo's multiple spins on the title, from
condoms to guns. The beats often avoid monotony through meticulous attention
to rhythm, adding in a horn or guitar riff to accompany the chorus.

Although the cliché "girl track" is normally a common throwaway cut on most
albums, "Ladies Know" sees Allday and Medium Zach at their most comfortable,
backed by an upbeat, somewhat eerie chopped up sample that really shouldn't
work in theory, but is surprisingly catchy in execution.

One of Big Quarters' most glaring weaknesses is their occasional inability
to steal the attention from the beats they're spitting over. "All Day Long"
is something of a travesty, as the producer seemed to throw everything
against the wall, with almost nothing sticking (as opposed to the similar
modus operandi of Nas' "It Ain't Hard to Tell," which works perfectly).
"Prom Mrs." and "Firebird" are similar in that neither emcee is able to
really ride the beat, instead being overwhelmed by the louder, polytonal
compositions.

All in all, neither Allday nor Medium Zach proves to be a standout rapper,
and the best verse is spit by Crescent Moon on "Wipe the Dust," the best
track of the second half. Moon's smooth, clear flow is refreshing and while
the hook isn't exactly melodic, Allday adds one of his own best verses.
There's clearly talent within "From the Home of Brown Babies & White
Mothers," but the pair is in need of a simpler, "less is more" ideology if
they ever hope to reach the considerably high bar set by Slug and Ant.